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About Me

Since the 1990s I have been very involved with fighting the military "don't ask don't tell" policy for gays in the military, and with First Amendment issues. Best contact is 571-334-6107 (legitimate calls; messages can be left; if not picked up retry; I don't answer when driving) Three other url's: doaskdotell.com, billboushka.com johnwboushka.com Links to my URLs are provided for legitimate content and user navigation purposes only.
My legal name is "John William Boushka" or "John W. Boushka"; my parents gave me the nickname of "Bill" based on my middle name, and this is how I am generally greeted. This is also the name for my book authorship. On the Web, you can find me as both "Bill Boushka" and "John W. Boushka"; this has been the case since the late 1990s. Sometimes I can be located as "John Boushka" without the "W." That's the identity my parents dealt me in 1943!

Thursday, February 08, 2018

The Variations and Fugue on a Theme of Handel, Op. 24, by
Johannes Brahms, was one of my favorite piano compositions when I was a teen. Could I really play it?

The work is known for its very formal structure, with its observation
of repeats. Wikipedia offers one of the largest and detailed formal analytic
writeups of the work for anything in piano literature, with the full score. The entire score will display on a Google
search!This is an example of “orchestral”
piano writing.

Tuesday, January 16, 2018

Sunday morning, at Trinity Presbyterian Church in Arlington
VA, organist Carol feather Martin played the Partita on Toulon by professor Gerhard
Krapf.

I couldn’t find it on YouTube, but there is a performance by
Krapf of a Reger Fugue, performed at the University of Iowa, supposedly the
only University tracker organ in the U.S.

The work comprised a Toccata, Siciliano, Cavatina, Fanfare,
and Finale, in the key of F Major. The music has polyphony like Bach but with
more modern dissonances. It sounds more like a full blooded organ symphony than
a “suite”.

There was also an anthem with piano, “Psalm 139” by Allen
Pote.

Both the children’s sermon and later the full sermon by Judith
Fukp-Eickstaedt focused on “Cultivating Gratitude: For Life, For the Wonder of
the Human Body”. There were slides that show the complexity of organ systems
(as if from Shaun Murphy’s savant visions on “The Good Doctor”), with some
statistics on neurons and synapses in the human brain that still dwarf any
computer (it is speculated that a quantum computer running in a cold
environment like on Titan, a moon of Saturn, might some day recreate human
intelligence artificially). She also said that people cannot always be held
responsible for their own physical issues, and seemed to point specifically at
fat-shaming, such as we have heard from Donald Trump and especially MiloYiannopoulos(she barely escaped naming names). This particular congregation
has outstanding young people (high school to college), that does international
missions, and that is quite well-informed in the culture wars (it found another
sponsor than World Vision for its 30 Hour fast).

Sunday, January 14, 2018

The New York Philharmonic is performing Bruckner’s Symphony
#9 on late April (from 20 to 24) with Christoph Eschenbach, along with Mozart’s
22nd Piano Concerto.

The notes online(along with the two-hour concert time
including intermission for the entire program) tend to suggest that this is “only”
the three-movement version.

I don’t know yet whether I will go or buy tickets in
advance. But in this day, why not make
the effort to play the complete work?
Bruckner nearly completed it. The
completions (essentially added codas) of Samale et a (2011) and Letocart are
the two best (and offer different concepts of what Bruckner intended, but both
concepts work artistically and emotionally and are argued for reasonably well in detailed notes by the composers).

I do agree that symphony orchestras now ought to present a complete
work. (But that really can be done with
Schubert’s Unfinished).

Thursday, January 04, 2018

Here’s a score of Schubert’s “Great” C Major Symphony (#9) in
C, D. 944. (It is sometimes listed as
#7.)

This sounds like the work that made all of Bruckner’s output
possible. The performance is by
Wolfgang Sawallisch.

The magnificent (“Brucknerian”)
close of the first movement occurs at 14:17, Sawasllish slows down. At the end of the finale, he holds the final
crashing octave as a fortissimo, which not all conductors do.

Besides the rapid repeated notes,
the work has many unresolved dissonances (as in the second movement) which must
have inspired Bruckner.

I had a Decca (with Decca vinyl)
record of the work with Furtwangler conducting the Berlin Philharmonic in the
early 1960s. It sounded muffled and constricted.

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